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They not wrong tho.

The Death to Disney fanboys gonna hate this, but as a writer never underestimate the power of comedy to make your characters relatable to the audience.
You can do it without comedy, but your shit has to be on point, and you actually have to spend the pages/screen time building that. If you gotta set up doomsday stakes, thread that plot and have a big setpiece every 20min, there's not much left over for character.
This is a problem every blockbuster faces... you're left with maybe 6 minutes for character stuff. If your character can make the audience laugh, they form an instant bond.
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ASHLEY LYNCH
@ashleylynch
"Comedy is a cop out" is a bad take.
Let me tell you, it's a lot harder to write comedy that lands than it is to write overwrought melodrama and then just tell Hans Zimmer to lay it on thick.
Check out the prose of the average literary minded teenager and dollars to donuts it descends into the most insufferable, melodramatic tragedy porn. It's basically an attitude of "what if emotion, but at 11?"
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ASHLEY LYNCH
@ashleylynch
And the path the final girl, who is almost always the pure (read: chaste) one is layered with a buffet of victims for us to fetishize their demise. I love slasher movies and you'd have to be a fool to not recognize that this is the design.
It's also why the killer often becomes the real protagonist of the slasher film as all the victims are the most broad stroke caricatures rather than real people.
And in all fairness this is a topic that people have been debating for 30 years now and will never have a definite answer.

A good read is Men, Women & Chainsaws. amazon.ca/Men-Women-Chai…
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ASHLEY LYNCH
@ashleylynch
Also, there's two reasons by anti-feminist reactionaries love going back to ALIENS and TERMINATOR 2 as examples of "strong women done well."

1) They saw these movies before they got radicalized into reactionaries.
2) Cameron only ever wrote 2nd wave feminists. Their feminism was displayed by acting more like men.

Reactionaries much prefer 2nd wave feminism over 3rd wave which doesn't tether feminism to masculinity.
Cameron's "strong female protagonist" is something that American cinema is still trying to grow past. It's a lazy form of characterization that says just have your female character act like Clint Eastwood and she's empowered.
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